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  • Wine-press House

Egry, József (1883 - 1951)

Wine-press House

Egry, József - Wine-press House | 20th Auction auction / 38 Lot
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70x82 cm
pastel on cardboard
signed, on the bottom right corner: Egry József 937 Badacsony

20th Auction / 38. Lot (2002-12-06)
Starting price: 5 000 000 Ft / 13 669 EUR

Attention! The values indicated in other currencies than HUF are for infomational purposes only. The basis of the exchange rate is always the one valid on the date of payment.

For this work of art, we provide certificate of origin!

20th Auction

Date:

2002. December 6. 17:00 - 21:00

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Study

Provenance:
It belonged to Dr. Imre Aszalós's collection, who bought it from the artist in 1940.

Exhibited:
'Magyar Művészetért Kiállítás.'(Exhibition 'For Hungarian Art'.) Palace of Art, 1940.

Literature:
Artinger, Imre: Egry József. Budapest, 1932.
Farkas, Zoltán: Egry. Budapest, 1969.
Láncz, Sándor: Egry József. Budapest, 1980.
Egry József arcképe. Ed. Fodor, András. Budapest, 1980.


Arising from the characteristics of the genre, an auction can never be pre-planned. The works are put together by chance, so the relationship of one to the other is unpredictable. However, these encounters are able to reveal hidden parallels and new aspects of interpretation. The encounter of Gulácsy's It is Snowing in Na-Conxypan and Egry's picture presented here is such an inspiring one. Standing in front of these masterpieces, the viewer cannot help considering the possible connections of the pictures and their masters. Both artists could find an idealised microcosms on the way of looking for inner harmony and both of them insisted on this world with an exceptional consistency. They could vest their worlds of painting with the illusion of totality. While Gulácsy created Nakonxipan, this world of dreams ruled by odd laws, himself, Egry found his idyllic micro world at Lake Balaton. Both artists consciously moved away from the mechanical representation of the sensual-concrete world of sight; their compositions, worlds of forms and the application of subjective spatial effects all served the spiritualization and transfiguration of the material world. As Egry wrote, 'the closer one gets to the essence of nature, the farther he moves from nature itself.'
Of course, the differences are also apparent. Gulácsy's moving from reality ended in madness; Egry retired only to the 'ivory tower' of his house in Badacsony, from where he was watching the chaotic, ebullient world with a wise resignation. While Gulácsy's personality and art can be characterised by rather feminine features, in Egry's case the sensitive lyricism radiating from his pictures is coupled with a masculine temperament.
The themes of the pictures are also suitable for a comparison. While the café of Gulácsy's picture represents the urban existence, Egry's press-house is an icon-like symbol of the life of the country, which is in a symbiosis with nature. The literary parallel of Gulácsy's picture could be the cafe lyrics waved round by smell of smoke, while Egry's painting evokes a drinking song.
The theme of the picture presented here offers several interpretations. In the system of the symbols of Christianity wine is the symbol of blood, life and salvation. In the Antic world it had a cultic meaning, and it is a basic element of Hungarian cultural history as well. Considering Egry's pantheism, his personal symbolics connected to the represented human figures, it is also possible to uncover a deeper, more abstract meaning. The figure driving the press could be a hidden self-representation; as a fine wine carries the ground and the sunshine that ripened it, Egry's picture contains the majesty of the landscape of Balaton, the harmony of its people, the peace of a found harmony, as a spiritual essence.

Molnos, Péter

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